"Rigoletto," Giuseppe's 1851 score based on a play by Victor Hugo, is the quintessential 19th century Italian opera. It has so many elements associated with the genre at its finest that even Verdi never again quite achieved such a synthesis.

Its musical and dramatic scope set a new standard for the composer and for the art form. Only a few of his pre-"Rigoletto" operas are regularly performed today, but virtually everything Verdi wrote in the next half-century, all the way through "Falstaff" in 1983, is a standard of the operatic stage.

It is thus a natural choice to open Opera Colorado's season of recovery from near-financial ruin. The traditionally staged production opens Saturday at the Ellie Caulkins Opera House in downtown Denver and continues with performances March 18, March 21 and March 23.

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The opera's signature aria — the jaunty ditty "La donna è mobile," ironically sung by its villain — is one of the most famous melodies not just in opera but in the history of music. There are many other great melodies, along with some of opera's finest ensembles and duets. But everything is driven by the perfectly operatic plot revolving around a cursed, vengeful jester and his daughter, tragically in love with an unworthy, licentious, womanizing duke.

Italian conductor Leonardo Vordoni, returning to Denver after leading "The Barber of Seville" in 2010, takes on his first "Rigoletto."

Vordoni said the opera succeeds primarily because of its sense of dramatic urgency.

"Nothing is relaxed," Vordoni told the Camera. "There is always tension, either in the foreground or background. Rigoletto is constantly worried about his daughter, and the Duke is always after his next conquest."

Vordoni said the Duke, who ultimately escapes his date with destiny, can do whatever he wants, and the opera never really allows us to believe otherwise. The daughter Gilda provides the only moment of calm, but the action is running around her even then.

Vordoni stressed Verdi's use of text setting and rhythm and how specific musical elements are adapted to different characters in different contexts but retain the connections.

"Rigoletto" also has signature roles for all five major voice types, something else that is almost unique in the standard repertoire.

"There is great variety and there are rewarding moments for everybody," Vordoni said.

Stage director for the production is Bernard Uzan, who was last in Denver in 2000. Uzan has more than 375 productions under his belt, and his productions have appeared at more than 100 companies.

Uzan has directed "Rigoletto" many times, but not yet with this production, which comes courtesy of Utah Opera. Uzan described the story as one of consistent dramatic follow-up.

"In so many operas, you have to invent or surmise what happens between moments or between acts," Uzan said in an interview with the Camera. "With 'Rigoletto,' there is no mystery. Everything is told, and every character is well-developed with a clear motivation."

At the same time, Uzan said, there are many possible ways to interpret each character.

"There is not one way to act Rigoletto or the Duke. Gilda is perhaps the most consistent," noted Uzan, who said he tries not to impose his view of the characters on his singers. "I become friendly with the singers, and I like to get to know them so that I can understand how they will best interpret the role."

Vordoni, who hasn't previously worked with Uzan, marveled at the director's methods and how they enhance his musical interpretation.

"Bernard really goes deep," he said. "He really makes it a team effort and gets more out of the singers than I would on my own."

Uzan concurred that their collaboration has been terrific.

"I rarely have any issues with a conductor," Uzan said. "With all of my ideas, I never forget that the musical elements are the conductor's domain. The collaboration between conductor and director is the basis of everything."

The main cast is headlined by baritone Gordon Hawkins in the title role, with whom Uzan has collaborated many times.

"He is a friend of mine, and when I work with somebody I know well, I try to go further," Uzan said. "He is a great interpreter of the role."

Renowned soprano Rachele Gilmore takes the role of Gilda, while tenor Rene Barbera takes the iconic role of the Duke of Mantua. Bass Stefan Szakafarowsky, as the assassin Sparafucile, and mezzo-soprano Dana Beth Miller, as his sister Maddalena, round out the main roles.

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